by Shane Conto, Staff Writer
What does Liam Neeson have up his sleeve for his latest crime thriller? Neeson’s career went through a seismic shift back when Taken became a giant, unexpected hit in 2008. Roles like Oskar Schindler became a thing of the past; audiences instead got an endless supply of middle-aged tough guys. Neeson periodically delivered some more dramatic turns in The Grey (which is most certainly not just Taken with wolves), Silence, and Ordinary Love, but with In the Land of Saints and Sinners, he returns to Ireland and delivers a neo-Western transplanted into a small Northern Irish town.
How do director Robert Lorenz and his crew capture the Irish setting? First off, In the Land of Saints and Sinners is a gorgeous film that expertly captures the beauty of scenic Northern Ireland, from the rocky cliffs to the rolling green hills. Cinematographer Tom Stern captures every ounce of the lavish setting. The trio of Diego, Lionel, and Nora Baldenweg deliver an impressive score which captures great motifs. There are traditional Irish musical tones mixed well with some Western harmonica elements. The film captures this feeling so perfectly between its music and visuals, but the production design and costuming are just as important to set the stage.
How effectively does Mark Michael McNally and Terry Loane’s screenplay mix the Western elements with this IRA-centric Irish crime thriller? The story is deeply rooted in the fight for Irish freedom and how far individuals will go for righteous cause. Lorenz well renders the opening scene, a tense attack which features some upsetting collateral damage. This scene sets the tone for the film perfectly. The film crafts the ideal Western protagonist. He is an aging gunslinger who wants to make good in life, but soon finds a need for violence to stop a terrible injustice. McNally and Loane channel Shane,while delivering a film that is steeped in Irish culture and set during a tumultuous time in Irish independence. These dueling motifs come together nicely as the central conflict and layers of compelling elements.
Where does the film get its strong heart and soul? You have Neeson’s character, Finbar, who goes on quite the journey of rediscovery, and of the legacy he wants to leave. He mourns his wife, connects with his beautiful and charming neighbor, and sticks to a code of only killing cruel men in the world. But Lorenz and Stern craft a key scene with Finbar’s latest execution which allows him to process the life he leads and the limited time he has. The central conflict arises when Finbar gets involved in a terrible abuse situation. But even though he does what he does for the right reasons, there is always a moral dilemma, as well as the consequences of violence. What could be a simple revenge plot turns complex through the honorable motivations of Kerry Condon’s antagonist, who wants vengeance for her brother and freedom for her people by any means necessary.
In what other ways do Lorenz and the writers leverage themes and ideas to add depth to this crime thriller? Finbar’s best friend is the Garda in town (Ciarán Hinds). Their dynamic is enjoyable and authentic, but there are obvious complexities, as the truth of Finbar’s life complicates their dynamic. Through literature, the film explores the morality and honor that permeates their friendship. You also have warring ideas on the antagonistic side of things as Condon’s Doireann comes to blows with her fellow IRA members. She stands for the mission, and they just want to save their own lives. Jack Gleeson portrays a young and brash hitman who has an intriguing dynamic with Finbar, as there is tension over the purpose of their jobs and what morality they are meant to navigate in the game of paid killings. Faith also plays an important role, as the film’s story finds itself in the House of God.
Does everything else in this neo-Western work well? It does borrow a few western ideas and narrative beats, but Lorenz is able to weave them in organically to the story. There are a few moments which get a bit too far-fetched and when the action gets bigger, the effects cannot quite live up to it. The film’s script is full ideas and themes, but sometimes the dialogue can feel a bit too spelled out and on-the-nose. But overall, there are so many elements which come together to create a thoroughly engaged and impactful film.
What elements shine the most? This incredible cast. Neeson provides a performance that has its charm and charisma, but also gives him space to process deeply complex emotions without too much dialogue. His physical presence works well to create Finbar as a towering and ominous presence. Condon darn near steals the whole film with her intensity and aggression which boil under the surface. But there are a few moments with vulnerable and shaken feelings that Condon equally sells. Hearing her powerfully commanding another woman and casually using the C word is something to behold. Gleeson is deviously intense, while delivering some extra charisma which makes him interesting. Hinds is genuine and authentic in the way he connects with Neeson, and he delivers an empathetic performance. Even Colm Meaney shows up as a fun and entertaining tough guy who has some great scenes.
In the Land of Saints and Sinners is easily one of the best films of 2024, as its expertly mixes Western motifs with Irish sensibilities to offer something unique. The cast is incredible, and there are deep themes, and plenty of heart and soul to keep the film afloat.
Rating: Liked It
In the Land of Saints and Sinners is currently playing in theaters
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